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This thematic issue explores the transformative potential and challenges of immersive storytelling through extended technologies. While these technologies have been hailed as potential “empathy machines” that will encourage perspective-taking and understanding of others, they have also been critiqued for being distracting or engaging in identity tourism. Essays in this collection further demonstrated the complexities of extended reality storytelling. Collectively, these essays reflect ongoing dialogues about the efficacy of extended reality in conveying meaningful narratives, urging a nuanced understanding of technology’s role in storytelling. This collection serves as a catalyst for future explorations into where and how to craft immersive narratives for impact.

Common models of the scientific method articulate the processes by which we hypothesize about the correlation between variables and then test those predictions to make incremental conclusions about the world around us. Implied in this process is the replication and extension of that knowledge to various contexts. As with other social sciences, published analyses have demonstrated that media and communication scholarship suffers from a lack of replication studies, often due to presumptions about the lack of reward or incentive for conducting this work—such as perceived difficulties securing support for and/or publishing these studies. This commentary will reflect on and reinforce arguments for the intentional and important role of replication studies in media and communication scholarship. The essay reflects on replication as a key to post-positivist approaches, and then highlights recent developments that center replication work as key to scientific progression.

Over the past years, scholars have explored eudaimonic video game experiences—profound entertainment responses that include meaningfulness, reflection, and others. In a comparatively short time, a plethora of explanations for the formation of such eudaimonic gaming experiences has been developed across multiple disciplines, making it difficult to keep track of the state of theory development. Hence, we present a theoretical overview of these explanations. We first provide a working definition of eudaimonic gaming experiences (i.e., experiences that reflect human virtues and encourage players to develop their potential as human beings fully) and outline four layers of video games—agency, narrative, sociality, and aesthetics—that form the basis for theorizing. Subsequently, we provide an overview of the theoretical approaches, categorizing them based on which of the four game layers their explanation mainly rests upon. Finally, we suggest the contingency of the different theoretical approaches for explaining eudaimonic experiences by describing how their usefulness varies as a function of interactivity. As different types of games offer players various levels of interactivity, our overview suggests which theories and which game layers should be considered when examining eudaimonic experiences for specific game types.

From the middle-20th century to today, video games have grown from an idiosyncratic interest of computer programmers and engineers to a globally dominant form of media entertainment. Advances in technology and creativity have combined to present players with interactive experience that vary in their cognitive, emotional, physical, and social complexity. That video games constitute co-authored experiences—dialogues between the player and the system—is at least one explanation for their appeal, but this co-authorship brings with it an enhanced set of requirements for the player’s attention. For this thematic issue, researchers were invited to debate and examine the cognitive, emotional, physical, and social demands of video games; their work (as well as the impetus for this work) is summarized below.

In playing videogames, players often create avatars as extensions of agency into those spaces, where the player-avatar relationship (PAR) both shapes gameplay and is the product of gameplay experiences. Avatars are generally understood as singular bodies; however, we argue they are functional and phenomenological assemblages—networks of social and technological components that are internalized by players as networks of knowledge about the avatar. Different PARs are based on different internalizations (i.e., mental models) for what an avatar is and why it matters. Toward illuminating nuances in PARs, we examine the content and structure of players’ internalizations of avatars as evidenced by descriptions of those digital bodies. Secondary analysis of N = 1,201 avatar descriptions parceled them by PAR type (avatars as asocial Objects, psychologically merged extensions of Me, hybrid me/other Symbiotes, and authentically social Other). Aggregated descriptions for each PAR type were subjected to semantic network analysis to identify patterns in salient avatar components, and then qualitatively compared across the four PARs. Results indicate component clusters that are universal to PARs (demographics and body features), common to three of four PARs (time, appearance, clothing, and player agency), and idiosyncratic to specific PARs (significance, character narratives, game dynamics, liminality, and gratifications). Findings signal the importance of theoretically engaging avatars as assemblages both (a) influenced by player-avatar sociality and (b) that contribute (in part and whole) to antecedents, processes, and effects of gameplay.

Interactive media such as video games and virtual reality (VR) provide users with lived experiences that may be dangerous or even impossible in daily life. By providing interactive experiences in highly authentic, detail-rich contexts, these technologies have demonstrated measurable success in impacting how people think, feel, and behave in the physical world. At the same time, violent interactive media content has been historically connected with a range of antisocial effects in both popular press and academic research. Extant literature has established a small-but-statistically significant effect of interactive media violence on aggressive thoughts and behaviors, which could serve as a risk factor for interpersonal violence. However, left unexplored is the seemingly paradoxical claim that under some conditions, interactive media experiences might protect against interpersonal violence. Drawing on advances in media theory and research and the evolution of interactive media content and production practices, the current manuscript suggests ways in which interactive media violence may be leveraged to lower the likelihood of real-world violence experiences. For example, research on both violent and non-violent games has found that players can (a) express guilt after committing violent acts, (b) report reflective and introspective emotional reactions during gameplay, and (c) debate the morality of their actions with others. Regarding VR, studies have demonstrated that (a) witnessing physical violence in immersive spaces led participants to take the perspective of victims and better understand their emotional state and (b) controlled exposure to traumatic or violent events can be used for treatment. Broadly, studies into video games and VR demonstrate that the impact of actions in virtual worlds transfer into the physical worlds to influence (later) attitudes and behaviors. Thus, how these experiences may be potentially harnessed for social change is a compelling and open consideration, as are side-effects of such interventions on vulnerable groups. The current manuscript summarizes emerging research perspectives (as well as their limitations) to offer insight into the potential for interactive media violence to protect against real-world violence victimization and perpetration.